Care exploitation pervades our lives. Consider the public school teachers who care about helping children achieve their goals by providing them with a proper education and are expected to do so by parents, administrators, or legislators—even with abysmal pay and little appreciation. Perhaps the most common case of care exploitation is the expectation of a mother to make great (and disproportionate) sacrifices in her life for the well-being of her child, which mothers often meet because they bear a caring orientation (...) toward their child. Despite their willingly assenting, there is something morally problematic about their treatment. I argue that an injustice has been perpetrated against them, drawing on interpersonal accounts of exploitation to highlight that the unique wrong of care exploitation is the failure to respect one’s dignity by taking advantage of their vulnerability of caring about. Following this, I articulate the necessary and jointly sufficient conditions of care exploitation and their relationships to one another. (shrink)

Care exploitation is a pervasive yet undertheorized injustice that emerges in both our interpersonal and structural relationships. Among those that are particularly vulnerable to this injustice are activists, those invested in bringing about positive change precisely because of how deeply they care about a given cause. Care exploitation occurs when an individual with caring attitudes is called to aid in the flourishing of a subject (e.g., LGBTQ + rights, anti-racism, conservation) by another that presumes they will answer said call simply (...) because they care. In this work I offer an account of what it takes to prevent care exploitation in the narrow context of activism. Drawing on the work of Iris Marion Young, I argue that we have a political responsibility to (at the very least) adopt a stance of solidarity with activists by virtue of our structural relationships with them. This demands two things of us: (i) being sensitive to activists’ well-being and (ii) supporting their capacity for self-authorship. (shrink)

Answering the question of whether and how liberalism could acknowledge dependency and foster just care arrangements—with a sensitivity to issues of race, class.

RésuméDans cette introduction, je propose un survol de Freedom to Care: Liberalism, Dependency Care, and Culture d'Asha Bhandary, afin que les lecteurs puissent mieux situer les suggestions des contributeurs au symposium, Clark Wolf, Elizabeth Edenberg et Helga Varden. Bhandary développe et défend la théorie libérale de la prise en charge de la dépendance en réponse à l’échec des théories libérales passées à reconnaître que cette prise en charge de la dépendance, qui est essentielle à notre survie, relève de la justice. (...) En terminant, je tisse des liens avec la philosophie de Jean Hampton, afin de stimuler la discussion autour des travaux inédits de Bhandary, qui élargissent l'influence de la théorisation libérale féministe contemporaine. (shrink)

Viewing emotion from an evolutionary perspective, researchers have argued that simple responses to affective stimuli can be triggered without mediation of cognitive processes. Indeed, findings suggest that positively and negatively valenced stimuli trigger approach and avoidance movements automatically. However, affective stimulus–response compatibility phenomena share so many central characteristics with nonaffective stimulus–response compatibility phenomena that one may doubt whether the underlying mechanisms differ. We suggest an “affectively enriched” version of the theory of event coding (TEC) that is able to account for (...) both affective and nonaffective compatibility, and that can account for the observation that both types of compatibility seem to be modulated by goals and intentions. Predictions from the model are tested in an experiment where participants carried out approach and avoidance responses to either the valence or the orientation of emotionally charged pictures. Under affective instruction the positive-approach/negative-avoid mapping yielded faster responses than the positive-avoid/negative-approach mapping, but no such effect was observed under spatial instruction. Conversely, spatial compatibility effects were obtained under spatial, but not under affective instruction. We conclude that affective and nonaffective compatibility effects reflect the same mechanism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

Does human happiness consist in God, as the widespread medieval view that God is the last end of human beings would suggest, or does it consist in the experience of God, the view suggested by medieval readings of Aristotle? In response to this theological problem, the important fourteenth-century philosopher John of Ripa developed one of the most innovative and subtle late medieval theories of the metaphysics of awareness. This article provides an account of Ripa’s theory of awareness and shows how (...) the theory was both motivated by and intended to solve this central theological problem for late medieval thought. In Section 1, I present the theological problem. In Section 2, I examine Ripa’s innovative theory of the metaphysics of awareness. In Section 3, I show how Ripa uses his account of the metaphysics of awareness to offer a solution to the theological problem. (shrink)

This paper presents an original interpretation of the fourteenth-century debate over whether every volitio is a cognitio. This debate, I argue, was at its heart a debate about what constitutes the mark of occurrent mental states. Three participants in this debate – Adam Wodeham, Richard FitzRalph, and John of Ripa – articulated three distinct accounts of the mark of the mental. In doing so, they also developed several philosophical accounts of the intentionality of occurrent affective states.

Ben Segal, our fiction curator, presents interviews with Maggie Nelson and Evan Lavender-Smith as well as "outtakes" from their books Bluets and From Old Notebooks. The authors discuss working with fragments, taxonomy, and narratology.

This chapter contains sections titled: AIDS as a Gay Disease? Features of the Bareback Video Cultural Responses to the Bareback Video The Language of the Bareback Experience Plenitude and the Death Drive in Bareback Porn Notes.

When the ancient Greeks looked up into the heavens, they saw not just sun and moon, stars and planets, but a complete, coherent universe, a model of the Good that could serve as a guide to a better life. How this view of the world came to be, and how we lost it on the way to becoming modern, make for a fascinating story, told in a highly accessible manner by Rémi Brague in this wide-ranging cultural history. Before the Greeks, (...) people thought human action was required to maintain the order of the universe and so conducted rituals and sacrifices to renew and restore it. But beginning with the Hellenic Age, the universe came to be seen as existing quite apart from human action and possessing, therefore, a kind of wisdom that humanity did not. Wearing his remarkable erudition lightly, Brague traces the many ways this universal wisdom has been interpreted over the centuries, from the time of ancient Egypt to the modern era. Socratic and Muslim philosophers, Christian theologians and Jewish Kabbalists all believed that questions about the workings of the world and the meaning of life were closely intertwined and that an understanding of cosmology was crucial to making sense of human ethics. Exploring the fate of this concept in the modern day, Brague shows how modernity stripped the universe of its sacred and philosophical wisdom, transforming it into an ethically indifferent entity that no longer serves as a model for human morality. Encyclopedic and yet intimate,_ The Wisdom of the World_ offers the best sort of history: broad, learned, and completely compelling. Brague opens a window onto systems of thought radically different from our own. (shrink)

When the ancient Greeks looked up into the heavens, they saw not just sun and moon, stars and planets, but a complete, coherent universe, a model of the Good that could serve as a guide to a better life. How this view of the world came to be, and how we lost it on the way to becoming modern, make for a fascinating story, told in a highly accessible manner by Rémi Brague in this wide-ranging cultural history. Before the Greeks, (...) people thought human action was required to maintain the order of the universe and so conducted rituals and sacrifices to renew and restore it. But beginning with the Hellenic Age, the universe came to be seen as existing quite apart from human action and possessing, therefore, a kind of wisdom that humanity did not. Wearing his remarkable erudition lightly, Brague traces the many ways this universal wisdom has been interpreted over the centuries, from the time of ancient Egypt to the modern era. Socratic and Muslim philosophers, Christian theologians and Jewish Kabbalists all believed that questions about the workings of the world and the meaning of life were closely intertwined and that an understanding of cosmology was crucial to making sense of human ethics. Exploring the fate of this concept in the modern day, Brague shows how modernity stripped the universe of its sacred and philosophical wisdom, transforming it into an ethically indifferent entity that no longer serves as a model for human morality. Encyclopedic and yet intimate,_ The Wisdom of the World_ offers the best sort of history: broad, learned, and completely compelling. Brague opens a window onto systems of thought radically different from our own. (shrink)

We know that our gas-guzzling cars are warming the planet, the pesticides and fertilizers from farms are turning rivers toxic, and the earth has run out of space for the mountains of unrecycled waste our daily consumption has left in its wake. We’ve heard copious accounts of our impact—as humans, as a society—on the natural world. But this is not a one-sided relationship. Lost in these dire and scolding accounts has been the impact on us and our well-being. You sense (...) it while walking on a sandy beach, or in a wild, woody forest, or when you catch sight of wildlife, or even while gardening in your backyard. Could it be that the natural environment is an essential part of our happiness? Yes, says Eric Lambin emphatically in _An Ecology of Happiness_. Using a very different strategy in addressing environmental concerns, he asks us to consider that there may be no better reason to value and protect the health of the planet than for our own personal well-being. In this clever and wide-ranging work, Lambin draws on new scientific evidence in the fields of geography, political ecology, environmental psychology, urban studies, and disease ecology, among others, to answer such questions as: To what extent do we need nature for our well-being? How does environmental degradation affect our happiness? What can be done to protect the environment and increase our well-being at the same time? Drawing on case studies from Asia, Africa, Europe, and North America, Lambin makes a persuasive case for the strong link between healthy ecosystems and happy humans. Unique in its scope and evenhanded synthesis of research from many fields, _An Ecology of Happiness _offers a compelling human-centered argument that is impossible to overlook when we marvel at murmurations of starlings or seek out the most brilliant fall foliage: nature makes our steps a little lighter and our eyes a little brighter. What better reason to protect an ecosystem or save a species than for our own pleasure? (shrink)

French philosopher and literary theorist Roland Barthes was one of the leading influences on the post-structuralist movement in twentieth-century literary thought, and some of his best-known works, like _S/Z_, speak directly to the essential and individual relationship between a reader and a literary text. In _Incidents_, readers have the privilege of going inside the life and thought of Barthes, through a book that is a testament to Barthes’ belief that a literary work should invite the full, active participation of the (...) reader. The essays collected in _Incidents_, originally published in French shortly after Barthes’ death, provide unique insight into the author’s life, his personal struggles, and his delights. Though Barthes questioned the act of keeping a journal with the aim of having it published, he decided to undertake a diary-like experiment in four parts. The first, which gives the collection its title, is a revealing personal account of his time living in Morocco. The second, “The Light of the Southwest,” is an ode to Barthes’ favorite region in France, while in “At Le Palace Tonight,” Barthes describes a vibrant Paris night spot. Finally, the journal entries of “Evenings in Paris” reveal Barthes as an older gay man, struggling with his desire for young lovers. Rendered here in a lyrical new translation alongside the striking photographs of Bishan Samaddar, _Incidents _will delight fans of Barthes’ other works, as well as anyone curious for a look inside the mind of one of the twentieth century’s foremost intellectuals. (shrink)

In the spring of 2003, Jacques Derrida sat down for a public debate in Paris with Algerian intellectual Mustapha Chérif. The eminent philosopher arrived at the event directly from the hospital where he had just been diagnosed with pancreatic cancer, the illness that would take his life just over a year later. That he still participated in the exchange testifies to the magnitude of the subject at hand: the increasingly distressed relationship between Islam and the West, and the questions of (...) freedom, justice, and democracy that surround it. As Chérif relates in this account of their dialogue, the topic of Islam held special resonance for Derrida—perhaps it is to be expected that near the end of his life his thoughts would return to Algeria, the country where he was born in 1930. Indeed, these roots served as the impetus for their conversation, which first centers on the ways in which Derrida’s Algerian-Jewish identity has shaped his thinking. From there, the two men move to broader questions of secularism and democracy; to politics and religion and how the former manipulates the latter; and to the parallels between xenophobia in the West and fanaticism among Islamists. Ultimately, the discussion is an attempt to tear down the notion that Islam and the West are two civilizations locked in a bitter struggle for supremacy and to reconsider them as the two shores of the Mediterranean—two halves of the same geographical, religious, and cultural sphere. _Islam and the West_ is a crucial opportunity to further our understanding of Derrida’s views on the key political and religious divisions of our time and an often moving testament to the power of friendship and solidarity to surmount them. (shrink)

The business of cognitive therapy is to transform meanings. What better way to achieve this than through a metaphor? Metaphors straddle two different domains at once, providing a conceptual bridge from a problematic interpretation to a fresh new perspective that can cast one's experiences in a new light. Even the simplest metaphor can be used again and again with different clients, yet still achieve the desired effect. This book is the first to show just how metaphors can be used productively (...) in CBT as an integral part of the treatment. It describes the use of metaphors for a wide range of problems, including anxiety and depression, and provides countless examples of metaphors that have been used by others in CBT. It brings together in one place hundreds of metaphors that experienced therapists have used to great success. It will be a valuable sourcebook for all cognitive behaviour therapists, as well as those training in CBT. (shrink)

A previous study has shown that the degree of trust into others might be biased by inducing either a more “inclusive” or “exclusive” cognitive-control mode. Here, we investigated whether the degree of interpersonal trust can be biased by environmental factors, such as odors, that are likely to impact cognitive-control states. Arousing olfactory fragrances (e.g., peppermint) are supposed to induce a more exclusive, and calming olfactory fragrances (e.g., lavender) a more inclusive state. Participants performed the Trust Game, which provides an (...) index of interpersonal trust by assessing the money units one participant (the trustor) transfers to another participant (the trustee), while being exposed to either peppermint or lavender aroma. All participants played the role of trustor. As expected, participants transferred significantly more money to the alleged trustee in the lavender as compared to the peppermint and no aroma conditions. This observation might have various serious implications for a broad range of situations in which interpersonal trust is an essential element, such as cooperation (e.g., mixed-motives situations), bargaining and negotiation, consumer behavior, and group performance. (shrink)

Scholars have identified policing and hyper-incarceration as key mechanisms to reproduce racial inequality and poverty. Existing research, however, often overlooks how policing practices impact gender and sexuality, especially expansive expressions of gender and non-heterosexuality. This lack of attention is critical because lesbian, gay, bisexual, transgender, and queer people disproportionately experience incarceration, including LGBTQ youth who are disproportionately incarcerated in juvenile detention. In this article, I draw on 18 months of ethnographic fieldwork and 40 in-depth interviews with LGBTQ youth experiencing homelessness (...) to address this gap in the literature by documenting how police and other agents of the state use their discretion to regulate youth’s gender expressions, identities, and sex lives. I posit that current policing patterns of discrimination operate primarily not through de jure discrimination against LGBTQ people but as de facto discrimination based on discretionary hyper-incarceration practices that police gender, sexuality, and LGBTQ people. I contend that policing is not only about maintaining racial inequality and governing poverty but also about controlling and regulating gender and sexuality, especially the gender and sexuality of poor LGBTQ people of color. (shrink)

In 1995, when I was actively speaking and organizing in the U.S. Greens, a lesbian delegate from Colorado approached me with a dilemma: her state had put forth a constitutional amendment that would strip civil rights protections from gays, lesbians, and bisexuals. She felt passionate about environmental politics but feared for her life if this amendment passed. Where should she direct her political energy? Which part of her identity should she prioritize: her ecological self, or her lesbianism?When progressive political movements (...) fail to recognize the intersections of oppression, we lose political power: coalitions become less stable, and activists are forced to choose their "first emergency" while backgrounding .. (shrink)

Drawing on a range of queer and ecological theories rather a single orthodox perspective, the thirteen essays in Queer Ecologies develop a strong argument for queering environmentalisms and greening queer theory, in three steps: challenging the heteronormativity of investigations into the 'sexuality' of nature, exploring the intersections between queer and ecological inflections of bio/politics (including spatial politics), and ultimately queering environmental affect, ethics, and desire. Clearly, notions of sexuality have shaped social constructions of nature, as seen in the familiar concepts (...) and creation of wilderness, national and urban parks, and car camping. As the first book-length volume to establish the intersections of queer theory and environmentalisms at such depth, Queer Ecologies covers a broad range of topics—gay cruising in the parks, lesbian rural retreats, transgressive sexual behaviors among diverse species, literary and cultural narratives of queer/nature. It also establishes topics for future development, i.e., exploring the intersection of speciesism and heterosexism in queer ecologies, and developing a focus on the constitution of the non-white queer subject. (shrink)

In _Democracy and Education_, John Dewey devotes a chapter to geography and history. McBride reveals that, until recently, he had not thought much about this chapter; geography and history were compulsory topics to be taught to children. In recent years, having read Katherine McKittrick’s _Demonic Grounds: Black Women and the Cartographies of Struggle_, McBride has been compelled to think more about geographies of dominance; the ways place, terrain, and geography are imbued with racialized and gendered and hierarchal values, which (...) conspire to create boundaries and exclusions. According to Dewey, learning about the geographies of place and histories of groups of people can enrich our connections to this place and its ecology, make the goals of our people more meaningful, and it can boost our inefficaciousness in our immediate surroundings. Failing this, the knowledge we gain from our elders becomes increasingly detached and meaningless. McBride suggests that Dewey suffered from a form of this estrangement (regarding the tacit racially-white Eurodescended coloniality of North America). McBride suggests that the vast majority of our society can conceive of no future world that is not dominated by Eurodescended peoples and thoroughly infused with their techno-industrial norms and values. If our accounts of the social milieu skirt past the dispossession of the first peoples or the enslavement of Afrodescended peoples or the debilitating effects of heteropatriarchy, then it would appear that we are not terribly critical about our past or our connection to place. It would suggest that we are resigned to (or comfortable within) the Eurodescended norms of this place, unable to see any viable alternatives. In the end, McBride suggests that we accept the Deweyan insight but supplement it with the critical study of geographies of domination and cartographies of struggle. (shrink)

Amidst the “lavender scare” of the Cold War, James Schuyler, “the great queer voice of the New York School,” subverted the state’s auditory surveillance of queer life. Refunctionalizing its tools of espionage as poetic tactics, Schuyler eavesdrops on errant conversations (the espoused) and joining (espousing) them in paratactic assembly. In so doing, Schuyler expands José Esteban Muñoz’s “queer optic,” the utopian capacity to see beauty amidst ruins, beyond the visual into a queer otic that drags into being a world (...) of freer espousal. I survey the aural surveillance of mid-century queer life before tracing Schuyler’s détournement of bugging, wiretapping, and overhearing in his 1969 Freely Espousing. In turn, I uncover the queer political commitments lurking beneath Schuyler’s classification as a pastoral lyricist concerned only with “leaves and flowers and weather.”. (shrink)

ABSTRACT Necropolitical arrangements of bifurcations delineate those ontological antagonisms that code Blackness as ontological lack (as non-position). In this article, I attempt to think about this evacuation of being in terms of the necropolitical’s fleshy excess, as what Alexander Weheliye’s work names “habeus viscus.” In so doing, I explore the implications, for our understanding of the “repressed proximities” of which the necropolitical consists, of arrangements that always-already include entanglements with their fleshy excess. In other words, if the nonposition of the (...) excluded is always positioned within, then living in/against the death-logics of necropolitics is always happening from that “nonposition within.” Hence, a reading of Achille Mbembe’s account of necropolitics must reckon with what Katherine McKittrick names “the creative consequences of the plot and the plantation,” with the implications of the inextricable proximal entanglements between the killing of life and the living that persists, despite. This article focuses on this “living despite.” Through a constellation of thinkers like Katherine McKittrick, Alexander Weheliye, and Zakiyyah Iman Jackson (to name a few), it aims to show that there are, perhaps, other futures that are already “now,” shattering what Édouard Glissant refers to as the “stone of time,” shattering (necropolitical) history as destiny. (shrink)

I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially (...) helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’. (shrink)

In this article, the authors take up the historical figure of Dr Betty Paërl, who has surprisingly turned up in very different kinds of specialised archives. The white mathematics professor was located in IHLIA LGBT+ Heritage, the largest queer heritage collection in Europe, as a notable SM sexpert and spokesperson on transgender politics, and also found during archival research into the anti-(neo)colonial struggles of Suriname against the Dutch. Upon closer inspection of the materials, the authors find the recurrent image/item of (...) the whip that presses them to carefully think through how the archive of Dr Paërl casts light on a history that Katherine McKittrick calls being ‘in the shadow of the whip’. The article aims to combine an analysis of these versions of the whip in different visual and discursive registers to detect the liberatory politics underlying her activisms. To do so, the authors develop the intersectional model of the kaleidoscope employed by Dutch Black, migrant and refugee (BMR) feminist theorists to grasp the shifting patterns of power that Paërl battled and embodied as an activist of the anticolonial struggle, for sex workers’ rights, for kinky sex and for transgender people. This is all the more important in the historical study of transgender visual materials that most often arrive in archives via medical and police photography or pornographic materials. The historical researcher, the article argues, should be wary of (re)producing a static vision that would reduce transgender figures to sex and gender politics, or eclipse a vision of trans politics that dilates beyond sexuality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WomanistAlice Walker1. From womanish. (Opp. of "girlish," i.e., frivolous, irresponsible, not serious.) A black feminist or feminist of color. From the black folk expression of mothers to female children, "You acting womanish," i.e., like a woman. Usually referring to outrageous, audacious, courageous or willful behavior. Wanting to know more and in greater depth than is considered "good" for one. Interested in grown-up doings. Acting grown up. Being grown up. (...) Interchangeable with another black folk expression: "You trying to be grown." Responsible. In charge. Serious.2. Also: A woman who loves other women, sexually and/or nonsexually. Appreciates and prefers women's culture, women's emotional flexibility (values tears as a natural counter-balance of laughter) and women's strength. Sometimes loves individual men, sexually and/or nonsexually. Committed to survival and wholeness of entire people, male and female. Not a separatist, except periodically, for health. Traditionally universalist, as in: "Mamma, why are we brown, pink, and yellow, and our cousins are white, beige, and black?" Ans.: "Well, you know the colored race is just like a flower garden, with every color flower represented." Traditionally capable, as in: "Mamma, I'm walking to Canada and I'm taking you and a bunch of other slaves with me." Reply: "It wouldn't be the first time." 3. Loves music. Loves dance. Loves the moon. Loves the Spirit. Loves love and food and roundness. Loves struggle. Loves the Folk. Loves herself. Regardless. 4. Womanist is to feminist as purple is to lavender. [End Page 45]FootnotesFrom Alice Walker, In Search of Our Mothers' Gardens: Womanist Prose, 1st ed. (San Diego: Harcourt Brace Jovanovich, 1983), xi; reprinted in Katie Cannon, Katie's Canon: Womanism and the Soul of the Black Community (New York: Continuum, 1995), 22; reprinted in Stacey Floyd-Thomas, Mining the Motherlode: Methods in Womanist Ethics (Cleveland: Pilgrim Press, 2006); reprinted in Alice Walker, We Are the Ones We Have Been Waiting for: Inner Light in a Time of Darkness: Meditations (New York: New Press; Distributed by W. W. Norton, 2006).Copyright © 2012 University of Hawai'i Press... (shrink)

Illusionism claims that we are not conscious, that there is nothing it is like, in the usual sense of the word, to feel sad, or to smell lavender. According to Illusionists, we are, in a technical sense, zombies. Instead of arguing for the falsity of Illusionism directly, I will explain why the main philosophical motivations for it are mistaken – and I trust the rest will be taken care of by the extreme implausibility of the view. I want to (...) spread the good news to Illusionists that they don’t need to resort to this highly counterintuitive, strange, and as I will argue later, morally corrosive idea. One can be a physicalist and phenomenal realist since neither of the two types of arguments Illusionists rely on – the conceivability arguments, and the debunking arguments against physicalist phenomenal realism – work. In the last part of the paper, I will say something about the corrosive effect this metaphysics has on our moral and evaluative outlook. (shrink)

ABSTRACT This essay focuses on the history of one of the “atomic patents.” The patent, which described a process to slow down neutrons in nuclear reactions, was the result of experimental research conducted in the 1930s by Enrico Fermi and his group at the Institute of Physics, University of Rome. The value of the patented process became clear during World War II, as it was involved in most of the military and industrial applications of atomic energy. This ignited a controversy (...) between Fermi and U.S. government representatives over royalties to be paid for use of the process during and after the war. The controversy sheds new light on the role that the management of patents played in the context of the Manhattan Project and in the postwar U.S. nuclear program, encompassing issues of power and economic influence in the relationship between scientists, the military, and public administrators. The invention covered by Patent No. 2,206,634 covers the basic process used in the research and development leading up the production of atomic energy and the production of the atomic bomb. Such invention is of continuing importance in the production of fissionable materials and atomic weapons. The Chairman: So Jones might make the greatest invention in the field and be deprived of any award for it? Captain Lavender: If he did not want to accept the award that was offered to him. (shrink)